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Different cameras work differently in different markets. Nobody rents an Alexa 65 to shoot Super 35 on it. It has the same exact pixel pitch and density as the other Alexa cameras. The standard Alexa sensor is 3.4K wide at 28mm open gate. You can upscale to UHD in camera and this is enough for most. It fudges the numbers a bit compared to true DCI 4K, but Arri gets a pass because they're Arri and they still make the best performing digital cinema cameras on the market. But we still live in a 4K world, and more importantly, a multi-format world. And that special pass that is granted to Arri is not gonna be given to Canon. Compare the new C700 to the Sony Venice. The 6K full frame sensor is much more useful across a range of crops and formats. It's a true 4K in Super 35 mode, which is useful for slow-mo, anamorphic, and 4:3 photography. A Canon camera is never going to be in the same high-end market as the iconic Alexa 65. It's playing in the middle ground where the Venice and the Monstro live. And those cameras have 6K and 8K sensors and are incredibly flexible with resolutions and formats.

Personally I see you have two very clear choices: 1) Pocket 4K: you have then two literally IDENTICAL cameras, very handy indeed for dual camera shoots. Plus the P4K is the best bang for the buck option. 2) Pocket 6K Pro: the pros are internal ND, optional EVF, tilting screen, bit longer battery life, and slightly more resolution (meh). Take your pick. (Canon? Canon who?)

It does indeed suffer from that problem. Have zero doubt whatsoever that if they could have made everything identical about the Alexa 65, except be a higher resolution sufficient to do 4K S35 then it would've been a much more successful camera by a huge margin. No of course not, that would be stupid silly! Unless..... if it could do 4K S35, then yes, people would be renting it just purely to do that!! Exactly. Non-Arri brands definitely can't be a one trick pony if they wish to succeed. Venice is also massively preferable for gimbals (or car rigs / cranes / etc).

I think youtube is both a boon and burden in this regard. Boon in thats there plenty of footage available to view, however a burden in these guys are probably inadvertently pushing the prices towards the stratosphere, in some cases. I'm also adverse to some of the tactics some of them use that get mentioned on the forum from time to time. Still i'm old enough to be cynical about most of it, and i take a grain of salt with everything online anyway. I have a theory that a lens that was good for photography in its day, should also work for video. Except perhaps a lens that has bad ( breathing ) thats the only thing that springs readily to my mind. As theories go it might no be up there with Einstein's general theory on relativity, but for a jumping off point it works (for me ) anyway. Feel free to elaborate or build on my framework as you see fit 🙂 I think the internet is great for research, at times it can feel abit hit or miss finding those gems. I'm a long way from suburbia, ebay is my friend. Sadly i have no affiliate links for you to buy from 🤣. If i had a concern about a lens with ( say dissolving bearings ) i would send a message to the seller seeking clarification, so far, that strategy has served me well.

Because DR can be somewhat subjective in terms of how you measure/define it.

Am just relaying what I read from some Canon users. On these crazy DR claims (Canon aren't the only ones), when does this becomes false advertising? I start to lose respect for companies when they spin these figures, at some point they should be made accountable. If Arri has 14 stops of useable DR and the market leader (Arri don't feel the need to mislead), how do the others get away with their false claims?

Was hoping for a version with SDI already included without needing an additional AtomX accessory 😞

Yes, the ability to screw in and lock off the focus is a very handy ergonomics design for drone fliers! (or for clutzy clumsy people like myself who might bump around their lens while trying to film themselves.....)

Really, really hope that they skip that C700 sequel. The original was one of the biggest flops in camera history. Almost no one bought it and everyone who did lost money on it. Regardless of the sensor in it, that form factor is severely antiquated. That dull gray bread loaf shape is from the last decade. The C500 MK II and C300 MK III with the modular extensions are actually some of the most nicely designed cameras on the market right now. Also, I don't know who needs a 4K full frame sensor at this point. A $30K+ camera cannot have a 4K full frame sensor when many people are gonna put Super 35 and anamorphic lenses on it which will only cover 24mm worth of sensor, forcing you to shoot 2K.

20 plus stops of DR claims makes me laugh, reminds me of RED marketing - but are these going to be RF or EF mount? CAnon has definitely been busy of late though not sure how present C300 III and C500 II owners will feel so soon after their pretty major investment, there has been grumbling of lack of firmware updates compared with FX9, hope Canon doesn't leave these folk out in the cold...

20Κ and pay for raw output whenever Canon feels like including it... 😁

Just wanted to comment. this is probably one of the most honest article about the FPL. it is too expensive for me but I definitly see who would use such a beautiful camera. I moved last year from FUJI (that is just trying to milk its APSC users with 10year old overpriced lenses + new body designs that copy sony) to Sigma and got an FP with i-series, a 85 1.4 and a 35 1.2 and from day 1 where I shot some small videos with the FP and the 45 2.8 I knew I made the right decision.

THREE FOCALS, a Seb Farges movie with Cannelina model This is a movie shot with three different focals from SLR Magic Anamorphot-65 1.33x anamorphic adapter on the 50mm Microprime Cine lens 50mm t1.2 Microprime Cine lens 24mm T2.8 all shot @t4 Everything looks sharp, the anamorphic adapter too. The Cine lenses are a real pleasure to use, they are strongs and solids. Double focusing with the Anamorphot is helped because of the calibration of the lens : for example when you are at 2 feet on the taking lens, you set the anamorphot at 2 feet. The Anamorphot is vignetting a little with the 50mm, so some of the clips are cropped at 110%. It’s weight is quite light (780Gr) and it has the new high resolution coating. Thanks to Chloé, Mathieu, Andrew Chan from SLR Magic music VSSP « Veiled" shot with Sony A7RII 4K 24P with (sometimes) ND filter in Bordeaux, France

Took a while, but the new camera update has arrived. Color 5 and Q3 for all. Pocket Cinema Camera 4K, 6K and 6K Pro Upgrades the luminance histogram to RGB histogram. Adds color channel clipping indicators. Adds false color guide display. Adds LCD screen calibration settings. Improves auto focus and active lens control. Improves focus peaking visibility. Fixes an issue with importing LUT’s and Presets. Pocket Cinema Camera 4K and 6K Adds support for Generation 5 color science. Adds support for LCD screen dimming for power conservation. Adds Q1 and Q3 Blackmagic RAW recording options. https://www.blackmagicdesign.com/support/readme/52c27548429f4c11b85d99fbebec9c38

So there are two aspects: checking whether the scope is aligned, and then optimizing for use with variable diopter by setting both scope and taking lens at (or near) infinity. Find an object with fine detail, at least a few metres away, so that the minimum focus of your scope covers it. Focus taking lens alone, add scope and focus it til you get a sharp image, so double focusing. If this is impossible, your scope is out of alignment and will require some maintenance. If you CAN get a sharp image while double focusing, then proceed to infinity focusing on a far away subject. First check whether the taking lens can reach it. Then add scope and do the same. Sometimes the scope is aligned, but cannot reach infinity. On the 16H this requires tuning one tab that determines the focus range of the scope. When both taking lens and scope are double focused at infinity add the FVD and see if you can get a sharp image. Sometimes the taking lens needs a slight nudge to just before infinity. Take your time and be systematic. If you don't succeed ask help in the helpful Anamorphic Shooters Facebook group.

still a good camera!

No, it can't. And also if you have a 3.5mm mic plugged in, you can't use the internal mic. So you can't do internal L + 3.5mm R.